Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bosnia Herzegovina and from Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Milan.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jeff Mills to the jazz kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cecil Taylor. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
The Durutti Column,
Marine Girls,
Fluxion,
Fear,
Lou Reed,
Con Funk Shun,
Joensuu 1685,
The Evens,
Sunsets and Hearts,
Lebanon Hanover,
the Germs,
Max Romeo,
Flamin' Groovies,
Major Organ And The Adding Machine,
Scion,
Tom Boy,
John Holt,
Pagans,
Tommy Roe,
June of 44,
Shuggie Otis,
Negative Approach,
Animal Collective,
Guru Guru,
Freddie Wadling,
Lakeside,
A Flock of Seagulls,
Ash Ra Tempel,
Television,
Avey Tare & Kría Brekkan,
The Searchers,
Gong,
Bob Dylan,
Lucky Dragons,
Don Cherry,
The Real Kids,
Funkadelic,
K-Klass,
Sound Behaviour,
Tres Demented,
The Fuzztones,
Eden Ahbez,
B.T. Express,
Maleditus Sound,
The Index,
Niagra,
Fugazi,
Sonny Sharrock,
Marc Almond,
Gary Puckett & The Union Gap,
Oblivians,
Swell Maps,
Electric Light Orchestra,
Quantec,
Todd Rundgren,
Heaven 17,
The Human League,
Cluster,
The Sound,
Circle Jerks,
The Peanut Butter Conspiracy,
Curtis Mayfield,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.